If not enough has been written about the sculptures of Ron Mehlman, it might be because they absolutely insist on direct visual engagement. These contemplative objects fashioned from resistant elements (stone, steel, and glass) and combined with ephemeral ones (water and light) are best approached in silence. They have little to do with the highly verbalized discourse of contemporary art. In the 1970s, Mehlman worked mostly in wood, carving organic shapes that appeared to have been liberated from living trees…see the entire article in the print version of November’s Sculpture magazine.
